Van gogh – The Idyllists Sat, 01 Oct 2022 11:24:12 +0000 en-US hourly 1 Van gogh – The Idyllists 32 32 Outstanding Data Paintings and Sculptures by Ouchhh Sat, 01 Oct 2022 11:24:12 +0000
AI Van Gogh: Immersive AI Data Painting Experience

Ouchhh is a multidisciplinary creative studio focused on new media, data art, AI, kinetic public arts, art direction, and audiovisual architectural performance.

Ouchhh uses art, technology and science as innovative tools for creative fields. Studio shows its futuristic vision using paint and data cultures, along with new technology models to mirror the experience. The team includes media artists, researchers, motion designers, creative coders, and other talents from various fields.


Ouchhh’s head office is in Istanbul but they have partnerships in Los Angeles, Vienna, Barcelona, ​​Paris, London and Berlin.

The studio works have received various international accolades and awards such as Reddot Design Best of the Best Awards, German Design Award, Iconic Best of the Best Award, MUSE Awards (USA) 10th Annual IDA Awards (The International Design Awards) LA, Asia Design Award (Seoul) and ADC Awards (The Art Directors Club) NY, CODAwards, AVIXA Awards (Las Vegas).

AVA V2: Scientific Installation of Particle Physics
AVA V2: Scientific Installation of Particle Physics

Selective Public Arts

The studio has created more than 50 public art projects around the world, from New York to Singapore; Milan to Jakarta.



A homeomorphism, also called a continuous transformation, is a two-way continuous equivalence relation and a one-to-one correspondence between the points of two geometric figures or topological spaces. The project was located in many places like Mira Digital Arts Festival, Phillip and Patricia Frost Museum of Science, Brno Observatory and Planetarium and United Kingdom National Space Center between 2014 and 2017.


Lines and planes, circles and spheres, triangles and cones are the shapes found in nature, according to classical geometry. Because these shapes are a strong abstraction from reality, we need primitive things to provide form and an understanding of the complex structure that exists in nature.

Relevant points of overlap between topography and primitive objects served as a starting point for the workshop. The great diversity of New Mexico’s landscapes served as inspiration.


DATA GATE: the world’s first NASA AI astronomical research data sculpture, permanent public art

The installation is divided into three sections: Form, Light and Space. The project is located in Nanjing, China, and was completed in 2018. Light is the world’s first work of art based on the concept of using machine learning for space discovery and astronomical study in the world. using NASA’s Kepler datasets.

DATA GATE: the world's first NASA AI astronomical research data sculpture, permanent public art
DATA GATE: the world’s first NASA AI astronomical research data sculpture, permanent public art

The findings of these neural networks for exoplanet discovery will be presented and stylized by Ouchhh using flux gradation. The finished piece will engage visitors in the exciting world of space exploration through immersive data sculpting. The project will provide a poetic sensory experience and serve as a memorial to humanity’s meditative curiosity and deep need for discovery.

DATA GATE: the world's first NASA AI astronomical research data sculpture, permanent public art
DATA GATE: the world’s first NASA AI astronomical research data sculpture, permanent public art


DATAMONOLITH was created using the world’s oldest data from Gobeklitepe using the Generative Adversarial Network (GAN) and Ai algorithms. Göbeklitepe is not only a masterpiece that required immense organization and vision, but it is also probably the oldest temple in the world. It is the parent of the evolution of world civilization. Data, from the pre-ceramic Neolithic B, PPN; 9600–7000 calBC.


AI Van Gogh: Immersive AI Data Painting Experience

Ouchhh has created a new Data Painting experience using all of Van Gogh‘s works. During the project, the team used artificial intelligence and GAN algorithms.

AI Van Gogh: Immersive AI Data Painting Experience
AI Van Gogh: Immersive AI Data Painting Experience

For the visual experience, they combine Van Gogh’s data painting technique, color palette and painting style. The project included more than 900 oil paintings and 1100 sketches by Van Gogh were collected. 518 working pieces. They aimed to create a feeling of walking inside Van Gogh’s painting.

AI Van Gogh: Immersive AI Data Painting Experience
AI Van Gogh: Immersive AI Data Painting Experience

AVA V2: Scientific Installation of Particle Physics

The surface-volume shape coefficient is denoted Ava. The main source of inspiration is the gigantic particle physics experiments. Buckminster Fuller’s distinctive dome structure inspired AVA’s design. It has a traceable area of ​​360 degrees from the outer surface of the dome.

AVA V2: Scientific Installation of Particle Physics

Cosmic rays have been reinvented inside the AVA idea, with the first iteration of the performance projection in Paris. AVA is a commissioned work of art that was created as a mobile installation that can be transported and positioned anywhere.

AVA V2: Scientific Installation of Particle Physics
AVA V2: Scientific Installation of Particle Physics

MOTHEREARTH: AI Climate Change Data Painting Sculpture

Ouchhh studio presents cold facts as an art form by integrating scientific and artistic innovation on one canvas. The message they aim to send is to build a meaningful connection between Mother Earth and people’s hearts. MOTHEREARTH artwork helps us reconsider what the planet is trying to tell us.

MOTHEREARTH: AI Climate Change Data Painting Sculpture
MOTHEREARTH: AI Climate Change Data Painting Sculpture

Ouchhh leveraged Singapore’s climate change environmental data, such as air quality and CO2 transmission. In the data painting section, all datasets are used directly to produce scientific visualizations with an aesthetic approach to show the interconnection of datasets.

Launch of the first AI exhibition in a national gallery in the Faroe Islands Tue, 27 Sep 2022 12:35:00 +0000

Exhibition explores the Faroe Islands through the eyes of the world’s greatest artists

NEW YORK, September 27, 2022 /PRNewswire/ — Today, the National Gallery of the Faroe Islands launches an exhibition of 40 images created by the AI ​​program Midjourney, making it the first time a national gallery has presented an entirely produced exhibition created by artificial intelligence. Functioning From September 29 to October 30, the exhibition reveals how the greatest artists in the world could have represented the landscape of this remote archipelago inaccessible in their time. The intriguing AI images offer visitors the opportunity to discover how Van Gogh, Monet and Picasso would have painted the Faroe Islands.

A video on this new exhibition is available here.

Visitors will also have the opportunity to create their own images using Midjourney technology. Computer stations will be available at the exhibition, giving visitors the opportunity to experience this innovative new technology.

The group of 18 islands located 400 miles from land in the North Atlantic provide an ideal location to ask the question: “How would history’s most renowned painters have interpreted this unique landscape?” Midjourney technology analyzes billions of paintings and images to understand the shapes, techniques, colors, moods and objects as well as the personal style of the greatest artists ever known. This transformational exhibition also examines the role of technologies in art and shows how art moves from outer landscapes of hills and mountain peaks to inner landscapes of the mind and imagination through the use of technology and of language.

Karina Lykke TallDirector of the National Gallery of Faroe Islandssaid: “When I first heard about AI and Midjourney and the ability to create new imagery like individual artists could have, it immediately intrigued me. It was fascinating to see how, by giving prompts, the system can get an idea of ​​how an artist like Van Gogh or Picasso might have painted the Faroe Islands.”

In addition to the AI ​​exhibition, the museum presents a collection of works of art by the most renowned Faroese artists in the country. From the point of view of art history, Faroese visual art did not develop until the beginning of the 20th century. Despite the small size of the country, around 54,000 inhabitants, and the fact that the history of Faroese art is relatively young, the quality of Faroese art is remarkably high.

Faroese visual art is diversifying with provocative works by an emerging generation of artists such as Rannvá Kunoy, Jón Sonni Jensen, Hansina Iversen and Edward Fuglø. Interest in the Faroese landscape as a subject, which was traditionally the motif, was replaced by that of the human spirit, raising existential or philosophical questions. Please see the works of many gifted Faroese artists at the National Gallery of the Faroe Islands’ homepage,

For more information about the art museum and opening hours, please see

The Faroe Islands may be small, but nature works on a grand scale on all 18 islands in the North Atlantic. With breathtaking views from every angle, visitors are invited to experience the raw and untouched beauty of the outdoors. Home to mythical mountains, hobbit-like turf-roofed houses and shaggy grazing sheep, these islands are the perfect playground for the senses.

The Faroese people are shaped by the harsh elements that have surrounded them for generations; a wonderful mix of isolation, toughness and restraint, open arms, authenticity and warmth. Few communities this small can boast such a vibrant arts and music scene, while Faroese cuisine has never been so popular. The decidedly slow pace of life on the islands lends itself to a hospitable family and laid-back lifestyle.

To learn more about the Faroe Islandsvisit

SOURCE Visit the Faroe Islands

]]> A long and uncertain road back, “It’s like starting from scratch on the building” – Hartford Courant Sun, 25 Sep 2022 09:59:59 +0000

HARTFORD – Hartford’s downtown convention center, opened in 2005 as an economic engine for the capital and surrounding region, is not expected to recover from a severe blow from the pandemic for perhaps two years. more.

Visitors and events return to the sprawling, half-million-square-foot Connecticut Convention Center on the city’s waterfront, after being closed for most of 2020 and 2021.

But the most desirable events – multi-day corporate bookings – have still largely not returned. These events bring in a lot of money for the convention center and trickle down economically to the city with hotel stays, restaurant meals, and free time to explore Hartford and spend money on attractions.

And, it’s unclear when — or even if — multi-day corporate events will return to how they were before the pandemic hit in early 2020.

Michael W. Freimuth, executive director of the Capital Region Development Authority, the quasi-public agency that oversees operations at the state-owned convention center, said the pandemic has scrambled business for the location, from hiring of staff to the combination of events. .

“It’s like we’re rebuilding the company,” Freimuth said during a recent walk through the massive structure. “It’s like going back 19, 20 years ago and starting from zero on the building.”

How the city’s convention sector evolves in the coming years will affect the restaurants, entertainment venues and other businesses that have factored convention foot traffic into their plans. Convention center experts say the economic fallout from the pandemic has been particularly profound, surpassing even that of the 9/11 attacks in its duration.

“Overall, we’ve seen a slower recovery than we would have expected,” said Charles H. Johnson IV, managing director of Chicago-based Johnson Consulting, which specializes in convention centers and studied Hartford in the past. “We thought it would be back to normal by the end of 2023, 100% back to normal. We are pushing that back to 2024.”

Johnson said even some of the biggest events have gone virtual during the pandemic. And while there was initial enthusiasm to get back together in person, there is still lingering reluctance for health reasons.

The slow return of corporate bookings is no surprise since the pandemic has pushed many meetings onto Zoom. COVID-19 has also triggered a drastic change in the workplace to a hybrid work environment – ​​part home, part office – or all together in a remote location.

Evidence of businesses still leaning towards virtual communication can also be seen at airports where business travel still lags leisure flight bookings.

“I think the hybrid is going to shake. It’s not going to last,” Johnson said. “But people are still using it as a vehicle, so the pickup hasn’t been as high as you would like.”

Johnson said he expects corporate meetings to return, especially for in-person networking and training, as well as shareholder meetings.

Competition for the convention industry in Connecticut was heating up even before the pandemic, and it’s expected to get even fiercer now as convention venues push to increase event bookings.

The Hartford site was under pressure from new convention centers at the Mohegan Sun casino in southeast Connecticut and the MGM casino in Springfield.

In 2018, Mohegan Sun opened a 240,000 square foot convention and exhibit center and quickly took over the Connecticut International Auto Show, a staple of the Hartford convention center for a dozen years.

Activity at the Hartford Convention Center, much like competing venues regionally and nationally, has been hit hard by the pandemic.

In fiscal year 2019, there were 178 events, according to the CRDA. That dropped to 105 events in fiscal year 2020 because the convention center lost the past three months as the pandemic took hold. There were no events in fiscal year 2021 except for COVID-19 testing and the location being prepared – but never used – as a field hospital.

In fiscal year 2022, there were 71 events and in the current fiscal year, it is expected that there will be 74.

Attendance also fell nearly 35%, from 327,913 in fiscal year 2019 to 215,705 in fiscal year 2022.

Since opening about 17 years ago, the convention center has typically required a grant — in recent years, about $3.8 million to cover operating expenses. But Freimuth points out that the venue has generally generated more event taxes to cover the subsidy.

The operating loss was much larger in fiscal 2021 when there were no events, reaching $5.6 million. Similar losses occurred in fiscal year 2022 and are expected in the current fiscal year, with federal pandemic relief funding filling the gap.

The main purpose of the convention center was not to make big bucks, but to bring visitors to the city, boost the economic fortunes and dynamism of the area while showcasing Hartford.

A seemingly bright spot is that attendance for the current fiscal year is expected to reach 320,000. But Freimuth cautions against reading too much into the numbers.

A big chunk – over 60,000 – will come from Beyond Van Gogh Hartford, which is the first show of its kind reserved for the convention center.

Michael Costelli, general manager of the convention center, said the Beyond Van Gogh showroom was open due to pandemic-related event cancellations.

Although popular, the show does not generate much revenue for the convention center through catering, parking, and other service fees; and those who attend, for the most part, do not extend their visits to other parts of the city, Freimuth said.

The city is stepping up efforts to attract more conventions to Hartford by using about $1.3 million in federal pandemic relief funds for what could be the first steps toward establishing a Convention and Visitors Bureau long considered only intended for Hartford.

“For many years, the convention center was one of the few major convention centers that did not have a serious and well-resourced Convention and Visitors Bureau – promoting, marketing, selling and coordination of these conferences,” Hartford Mayor Luke Bronin said.

“The convention center is still and should be an important economic driver, and it’s important that we compete aggressively for convention business.”

The idea is to better connect delegates to what is happening in the city, both downtown and in the neighborhoods. The effort aims to go beyond reacting to visitor needs, but to be at the forefront with options and a plan to make them happen, an integral part of the groundwork for bringing conventions to the city.

The idea of ​​a region-focused Conventions and Visitors Bureau had been circulating for about a year before the pandemic hit. There was pressure for state funding, but that fell to the sidelines as the pandemic escalated.

In 2019, a report by Johnson Consulting, the Chicago firm, was commissioned by the CRDA for recommendations on how to increase convention business in the city even as the venue faced growing competition.

The convention and visitor bureau was a key recommendation of the report. The effort will start with two or three new hires at the convention center, but could grow and eventually get state funding, Freimuth said.

Five things you need to know

Five things you need to know


We provide the latest coronavirus coverage in Connecticut every weekday morning.

The Johnson Consulting report said it was possible to boost convention attendance to 500,000 over the next decade, but the report’s eight recommendations, including office, came just before the pandemic hit. Another recommendation – the addition of hotel rooms in the city – would be particularly heavy.

The pandemic has hit Hartford’s hospitality industry hard. One hotel – the Hilton on Trumbull Street near the XL Center – came dangerously close to closing as business travel plummeted. A $29 million bailout has kept it open and will convert upper floors to apartments with a smaller hotel, a DoubleTree, below for rentals.

Despite the difficulties in rebuilding the convention area in Hartford, restaurateur Al Gamble said he was optimistic about his decision to open his sixth Plan b Burger Bar in the nearby Front Street entertainment district.

Gamble said he’s had his eye on the space since Ted’s Montana Grill closed at the start of the pandemic. But it’s only recently that he’s seen positive signs emerge, making the time right to open his restaurant, now slated for November.

He highlighted the return of University of Connecticut students to the downtown Hartford campus, live concerts at Good Works/Infinity Hall, and more people living in downtown apartments. Convention center traffic also figured in his decision.

“It’s an anchor for the city and a big factor for us,” Gamble said. “The timing seems right.”

Kenneth R. Gosselin can be reached at

What were the first 12 Van Gogh paintings ever sold? Fri, 23 Sep 2022 14:12:48 +0000

A key part of the legend of Vincent van Gogh is that he was ignored during his lifetime and never sold his work. Although largely true, during the artist’s period in France he gradually began to gain recognition. And a year after his suicide, sales began, slowly at first.

We track down the first 12 paintings known to have sold up to the year after Van Gogh died. It reveals what kind of collectors made the bold decision to buy, the prices they paid, and what images they chose.

The red vineyard

by Van Gogh The red vineyard (November 1888) Credit: Pushkin Museum, Moscow

The red vineyard (November 1888) is now famous as the only painting Van Gogh is certain to have sold during his lifetime. It was shown in an exhibition in Brussels in March 1890, four months before the artist died. At the price of 400 francs (then £16), it was purchased by Anna Boch, a Belgian avant-garde painter. She sold The red vineyard circa 1907 and is now in the Pushkin Museum in Moscow.

three sunflowers

by Van Gogh three sunflowers (August 1888) Private collection

It’s no surprise that the first sale after Van Gogh’s death includes three sunflowers (August 1888). This is the first of four still lifes of sunflowers that he painted at the Maison Jaune in Arles. Sold in April 1891, the buyer was the French critic Octave Mirbeau, who had just published a glowing review of Van Gogh’s work.

A well like three sunflowersMirbeau also bought Iris of Father Julien Tanguy, an art dealer close to avant-garde Parisian artists — and sometimes selling their works. Tanguy organized the Van Gogh sales on behalf of Jo Bonger, the widow of Vincent’s brother, Theo, who had inherited the family collection.

The price of the two flower paintings was 600 francs. Mirbeau attempted to hide the purchase from his wife, who would have been angry if she found out that he was spending money on this kind of art. Cheating on his wife, he asked for a note saying the two photos were a gift, not a purchase.

Mirbeau kept three sunflowers until 1912, when its value had soared to 50,000 francs, a dramatic increase from the 300 francs he had paid. Since then, the painting has always been hidden in private collections and was last briefly displayed in Cleveland in 1948.


Irises by Van Gogh (May 1889) © J. Paul Getty Museum, Los Angeles

Mirbeau’s other purchase, Iris (May 1889), is the first picture painted by Van Gogh just after his arrival at the asylum in Saint-Rémy-de-Provence. It’s an incredibly optimistic image, produced under the most difficult of circumstances.

Claude Monet was a friend of Mirbeau, visiting him shortly after his purchase of the Van Goghs. Seeing three sunflowers and IrisMonet exclaims: “How could a man who loved flowers and light so much and rendered them so well, how could he be so unhappy?

The choice of the two Van Goghs, which he hangs in his dining room, does not surprise those who knew Mirbeau. As Léon Daudet, a writer friend, explains: “Mirbeau has two points of refuge, namely his love of flowers and painting. For them, its taste is excellent, almost infallible… Its eye… is 15 years ahead of its time.

Mirbeau sold Iris in 1905 and, after passing through various collections, it was purchased by the J. Paul Getty Museum in Los Angeles in 1990, for approximately $50 million.

Peach trees in bloom

by Van Gogh Peach trees in bloom (April 1889) © Samuel Courtauld Trust, Courtauld Gallery, London

In June 1891, Anna Boch, who had previously acquired The red vineyardadded to his collection, buying Peach trees in bloom (April 1889) for 350 francs. Vincent had given a brief description of the painting to his artist friend Paul Signac: “Green countryside with small cottages, blue line of the Alpilles, white and blue sky. In the foreground, enclosures with reed hedges where small peach trees bloom.

Boch sold her two Van Goghs in 1906 for 10,000 francs, a good return on the 750 francs she had paid. Peach trees in bloom is now at the Courtauld Gallery in London.

Vase with pink roses

by Van Gogh Vase with pink roses (May 1890) Credit: National Gallery of Art, Washington, DC

Vase with pink roses (May 1890) was painted just days before Van Gogh left the asylum (the pink pigment has faded and is now almost white). In June 1891, it was purchased for 400 francs by Paul Gallimard, a Parisian who owned an important collection of Impressionist works. He sold the Van Gogh in the early 1900s and it is now in the National Gallery of Art in Washington, DC.

the sower

by Van Gogh the sower (after Jean-François Millet) (November 1889 or January 1890) Credit: Kröller-Müller Museum, Otterlo

the sower (November 1889 or January 1890) is Van Gogh’s own color painted version of a black and white print by Jean-François Millet. It was an image that had inspired him for a decade since deciding to become an artist. Van Gogh’s version was sold for 400 francs to an unknown buyer in September 1891.

White Cottages in Saintes-Maries

by Van Gogh White Cottages in Saintes-Maries (June 1888) Credit: Kunsthaus, Zurich (gift of Walter Haefner, 1995)

In November 1891, the first buyer of a group of Van Gogh paintings appeared: Willy Gretor, pseudonym of one of the most eccentric characters, Wilhelm Peterson. He was an art lover and an artist of Prussian origin who had just arrived in Paris. It is still unclear whether he acquired his Van Goghs as a collector or to resell them, but the fact that he bought no less than six suggests that he spotted their commercial potential. Gretor paid 2,200 francs for the group.

White Cottages in Saintes-Maries (June 1888) depicts a view of the fishing village Van Gogh visited for just under a week, coming from Arles. Inspired by his first vision of the Mediterranean, he was then at the height of his power as a colourist.

Mas in Provence

by Van Gogh Mas in Provence (June 1888) Credit: National Gallery of Art, Washington, DC

Mas in Provence (June 1888), as well as the following four works, were also purchased by Gretor. It represents a setting at the gates of Arles. At the time, Vincent described the composition to his sister Wil as a summer scene, under a blue sky: “A landscape takes on golden tones of all shades, green-gold, yellow-gold, red-gold , ditto bronze, copper , in short from lemon yellow to dull yellow, say, from a pile of threshed grains.

Harvest in Provence

by Van Gogh Harvest in Provence (June 1888) Credit: Israel Museum, Jerusalem

Harvest in Provence (June 1888) was painted just days after Mas in Provence, with an even more powerful blues. On June 21, 1888, Vincent wrote to Théo: “I had a week of hard work concentrated in the wheat fields in full sun.


by Van Gogh Houseboats (Lashing) (August–October 1888) Credit: private collection

Houseboats (August-October 1888) depicts a nocturnal scene on the Rhône in Arles, just a five-minute walk from the Yellow House. Under a blazing sunset, stevedores rush to complete their task of unloading sand onto the dock.

prison yard

by Van Gogh prison yard (after Gustave Doré) (February 1890) Credit: Pushkin Museum, Moscow

Gretor’s last two paintings were both painted versions of prints by two artists whom Van Gogh greatly admired. As Vincent explains to Théo: “It’s not pure and simple copying… It’s rather a translation into another language, that of colors.”

prison yard (February 1890) is a colored version of a smaller black and white print by Gustave Doré, originally published in the book London: a pilgrimage. The individual print that Van Gogh chose to reinterpret in color was Newgate—Exercise Park. It is no coincidence that this is a prison scene, painted by Van Gogh when he was locked up in the asylum.

Good Samaritan

by Van Gogh The Good Samaritan (after Eugène Delacroix) (May 1890) Credit: Kröller-Müller Museum, Otterlo

Van Gogh made a colored copy of Eugène Delacroix’s print from The Good Samaritan (May 1890) just before his release from the asylum. Gretor’s life remains shrouded in mystery, but he sold his six Van Goghs in the 1890s or very early 1900s.

Advance sales at today’s mega prices

All 11 Van Gogh paintings sold in 1891 were marketed on behalf of Bonger by Tanguy, at prices of around 400 francs each (then £16, but with inflation equivalent to around £1,400 today).

Unsurprisingly, they include some of what we now consider Van Gogh’s finest landscapes and flower still lifes, although the presence of the three works inspired by black-and-white prints by Millet, Doré and Delacroix may come as a surprise.

Following these 1891 sales, a further trickle continued over the next three years. But Van Gogh’s eventual commercial success began in 1895, when Parisian dealer Ambroise Vollard recognized his importance and began to hold a series of exhibitions, eventually selling around 30 paintings over the next five years.

Now, of course, Van Gogh is one of the best-selling artists in the world. In recent years, 11 of his paintings have sold for over $40 million.

Don McLean’s ‘Vincent’ Lyrics Set to Raise $1 Million at Auction Wed, 21 Sep 2022 20:52:00 +0000

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Sep 21 (Reuters) – The original handwritten lyrics to Don McLean’s song ‘Vincent’, a tribute to painter Vincent van Gogh, will go up for auction in November for an estimated $1million.

The lyrics to the song, which features on his best-selling album ‘American Pie’, were scribbled in pencil on green paper. The lyrics are now the star item in a collection of hundreds of personal items sold by the American singer-songwriter through Julien’s Auctions.

“I decided to really let go of a lot of things,” McLean, now 76, told Reuters. Among his treasure are 25 guitars, jewelry, stage clothes and vintage watches.

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Singer Don McLean poses for a portrait in New York, U.S., March 23, 2018. REUTERS/Brendan McDermid

First released in 1971, “Vincent” opens with the words “Starry, starry night” and is inspired by the Dutch painter’s famous work “The Starry Night”. McLean said he wrote the lyrics while looking at Van Gogh‘s painting.

“I said, damn it, I know what I’m going to do. I’m just going to look at the ‘Starry Night’ board and see if it speaks to me. Lo and behold, he almost wrote the whole song,” McLean said. .

“Vincent” is perhaps McLean’s most famous song after “American Pie,” the lyrics of which sold for $1.2 million at auction in 2015.

The auction will take place November 11-13, 2022 at the Hard Rock Cafe in New York and online at Julien’s Auctions. A portion of the proceeds from the auction will go to the Don McLean Foundation.

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Reporting by Omar Younis; written by Aurora Ellis; Editing by Rosalba O’Brien

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Process and control today | Bearings in small robots: thin section bearings help industrial robots adapt to small spaces Tue, 20 Sep 2022 04:08:30 +0000

“Great things”, said Vincent Van Gogh, “are made by a series of small things put together.” This applies to industrial robots, which are becoming increasingly smaller and more compact, as are the companies that buy them. This is expected that Small and medium-sized enterprises (SMEs) will be a major driver of the robotics market in the coming years. Here, Chris Johnson, Managing Director at Specialist bearing supplier SMB Bearings, explains why thin section bearings are essential to help SMBs leverage robots with improved maneuverability and precision.

Industrial robots will need to fit into smaller spaces as manufacturers become more concerned with robot “real estate” or as every square meter of factory floor space is used for production.

Smaller robots are more accessible to SMEs. Previously, the high up-front costs associated with automation kept small businesses from investing in robotics, while deterring large companies from taking the risk. Instead, more compact, versatile, and flexible robots can provide another solution by fitting more easily and cost-effectively into smaller spaces on manufacturers’ production lines.

Another argument in favor of small robots is safety. While giant robots typically operate in isolation, away from human workers, smaller robots – like cobots – can operate in open or semi-protected environments. According to a recent interview with Alex Megej, Chief Technology Officer at TE Connectivity, this combination of large and small machines will be crucial for robots to thrive in SMBs.

“In terms of collaboration between huge robots and small robots, this usually only happens in situations where smaller robots, or small cobots, in this case, pick and place material for further processing with bigger robots,” Megej said.

Expect to see a growth in smaller, faster robots that can perform more complex and precise tasks without endangering human colleagues, whether in surgical environments or warehouses. An example, reports Voice magazine, are Amazon’s Kiva robots, which follow workers around the warehouse and assist them with their tasks.

Finally, there is Industry 4.0. 2D and 3D vision systems and artificial intelligence (AI) are among the latest technologies intended to usher in a new phase of robotics. These technologies will require new levels of connectivity and controllability that fit quickly and seamlessly into the tight spaces of any production line, while being compatible with enterprise manufacturing execution systems (MES).

Speed ​​and precision

Robotic applications rely on high-precision bearings, including hybrid chrome and steel variants, as well as ceramic bearings and slewing bearings. Articulated robotic arms, for example, require robot bearings in the rotating joints.

Among SMB Bearings customers, thin section bearings are the most popular choice for robotic applications — which are particularly thin and compact as the name suggests. Thin-section bearings are essential for enabling robots to perform tasks with increased accuracy and precision. An example is EZO brand thin section ball bearings, which SMB Bearings supplies in open, shielded or sealed form in SAE52100 chrome steel or 440 stainless steel. radial loads as well as moderate axial loads in both directions.

Take, for example, Shadow Robot Company, an SME that makes deft robotic hands for academia and agile working. The customer wanted to branch out into industrial applications with its robust and reliable Smart Grasping System™, a system that relies on AI to recognize different objects and select the appropriate grip.

For the system to work, Shadow Robot Company needed specific bearings with very tight tolerances. Ease of installation and dimensional accuracy were also among the customers’ needs. In response, SMB Bearings recommended and supplied EZO thin type precision bearings. Every bearing that comes off the production line is always the same shape and size, which is crucial for maintaining precision and consistent overall behavior in the robot itself.

In the end, the customer reported that the bearings were very easy to install as a direct result of their quality, tolerance and consistency. This was essential for the repeated assembly of the Smart Grasping System™, but also vital for the precision of the movements of the smart gripper. With the precision afforded by thin-section bearings, the Smart Grasping System™ can grip many types of objects, reducing the need for multiple hands in a plant.

Robot bearings will be crucial in helping small businesses benefit from smaller, more compact robots and, to paraphrase Van Gogh, achieve big things by bringing together a series of small things.

For more information on SMB bearings and EZO bearings,

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“I always thought I would paint one day”: Trish Grabel shares her love of life and art | stonington Sun, 18 Sep 2022 00:55:00 +0000

WESTERLY — With glitter in her hair and a smile on her face, Trisha Grabel, 88, stood in the middle of the Tapped Apple Cidery & Winery on Friday night, greeting friends, fans and art lovers.

Dozens of admirers – including many from the StoneRidge elderly community in Mystic, where Grabel now makes a home – and a few others, members of Westerly Village, crowded into the small cider house to see Grabel’s eye-catching paintings – acrylic landscapes , flowers, stills and abstracts “inspired by the light, the ocean and the beautiful landscapes of Westerly and Mystic” – hung on the walls.

“Another just sold,” said a delighted Grabel, who was in the middle of opening her first solo art exhibition in 10 years, and was clearly enjoying herself. “Now I’ve sold two.”

One of the paintings was sold to John Harkey of Providence, who stood nearby, smiling, alongside his wife, Ginger.

“How can you not love your job? said John, who is writing a story about Grabel and his art for an upcoming edition of “Village Voices.” “I love it. It makes me happy.”

“She has such freedom of expression,” John added.

“She has such command,” said Mimi Desire, of Attleboro, Massachusetts, who helped Grabel hang the show and sat at a small table near the entrance to keep track of “Sold Out” stickers. “She’s a great lady.”

A great lady with a beautiful story, according to Laurie Meisner, who, assisted by her husband, Bill, and John Harkney, helped Grabel write a short biography titled “One Woman’s Story of Evolving from Mere Survival to Thriving – Despite All the obstacles”.

Grabel credits Harkey and the Meisners for encouraging her to tell her story and share her artwork, which also adorns the walls of her StoneRidge apartment, where, days before the opening reception, she spoke about her life and his art.

“I have a strong sense of color,” Grabel said as she sat in her brightly decorated flat, surrounded by plants, artwork and a huge, bright red British telephone box.

“Bought from Westerly and made in China,” Grabel said with a laugh as she stood beside the phone booth.

Her artistic work, she said, is “fuelled by my exuberance, my imagination, my intellect and my love of color and movement”.

“Nothing is realistic,” adds Grabel, citing Pierre Bonnard, Henri Matisse and Vincent Van Gogh as inspiration for his expressionist art, and Warhol, Pollock and Frankenthaler as influences on his abstracts.

“I’m not a famous artist, but I celebrate my art,” the London native said. “I want my art to bring joy. One of my goals is to bring happiness to others because I’m basically a happy person and I like to spread it.”

But before art; before his escape from the Nazis in 1939 aboard the RMS Duchess of Atholl with his nanny and brothers; before her marriage to the late Dan Grabel – a New York-based reporter who made a career as a writer and reporter for the original “Today” show with Dave Garroway – before her successful career as advertising executive for home furnishings Conran; before returning to school at the College of New Rochelle to complete a bachelor’s degree; before the birth of her two sons, four grandsons and a great-grandchild, a 1-pound, 14-ounce baby named Patricia Ann Cohen, born in London to Alfred and Rita Cohen.

“My baby bonnet could fit on a tangerine,” Grabel said with a laugh. “The doctor said I wasn’t worth saving.”

“But here I am at the ripe old age of 88,” she said warmly. “I’m a survivor and a fighter and I’m fiery.”

“My nanny wrapped me in cotton, fed me with an eyedropper, and kept me in the bottom drawer of a dresser,” Grabel said. “From impossible beginnings to a high-spirited, high-spirited 88-year-old man.

“I have the fighting spirit of the Cohens,” she said. “Our motto is ‘Play hard and work hard’.”

Grabel is also an accomplished athlete who swims every day and is a senior Olympic cycling champion who has cycled in a number of competitive races, ridden from Ottawa to Quebec, through Cuba, in the Cape Mountains, to through Long Island on a “cultural hike”. and participated in the Empire Games with dozens of medals for his efforts.

Grabel’s parents also showed that fighting spirit, she said. During the Second World War, his mother served as volunteer chief civil defense officer for the Corporation of the City of London when the city “gave him a flat in the criminal court called the Old Bailey – a place which is now reserved for murderers”.

His father, manager of Court Bros. Ltd., a chain of British furniture stores, joined the Royal Air Force and spent most of the war as a squad leader in Cairo, Egypt.

“His work wasn’t always so bad,” she said. “He was a good bridge player and sometimes had to play bridge with King Farouk.”

Although she took painting lessons as a young girl in England, she says, she was constantly berated for refusing to copy what was before her.

“But I always thought that I would paint one day,” she said.

Grabel, who studied at the Sorbonne, started painting again, but not until she was in her 60s, she said.

“I became a wild woman in my sixties,” Grabel said triumphantly.

Grabel has exhibited in galleries in New York, Connecticut and Rhode Island. His work was also included in a tri-state exhibit at the Katonah Museum of Art in New York.

In 2004, Grabel and her late husband moved to Westerly. After her husband died nearly 10 years ago, she said, she became a member of Westerly Village, one of four villages in Rhode Island and part of the umbrella organization known as of Village Common. The group is dedicated to helping senior citizens “stay active, connected and independent in the home and community they love”.

“Westerly Village has been very, very helpful to me,” Grabel said, “not only helping me get to big social events, since I’m no longer driving, but also helping me with transportation and now …to help me share my story – to share my own life’s miracle of not only surviving, but also thriving despite all odds.

“Fame doesn’t come overnight,” Grabel joked as she sat in her StoneRidge apartment, “and it doesn’t last more than 15 minutes.

“I really enjoy painting,” Grabel said with a smile. “I am confused.”

Grabel’s exhibit will be on view at Tapped Apple Cidery & Winery, 37 High St., Westerly, through October 20.

“I hope people come to look and see and smell the flowers that can’t be picked,” Grabel joked. But they can be sold, she added, and she hopes she doesn’t have to take any back to StoneRidge with her at the end of the show.

“I would love to sell them all,” she added with a smile.

SILENT SKY opens at Sierra Madre Playhouse | South Pasadenan Fri, 16 Sep 2022 00:34:24 +0000

When astronomer Henrietta Leavitt began working at Harvard Observatory in the early 1900s, she didn’t start by looking through a telescope. She joins a group of women “computers”, mapping the stars as part of the world’s first study of the sky made from photographs. As Henrietta, in her spare time, attempts to measure starlight and distance, she also takes stock of her life on Earth, trying to balance her dedication to science with family obligations and the possibility of life. ‘love. Based on the life of 19th century astronomer Henrietta Leavitt, silent sky explores the place of women in society at a time of immense scientific discoveries.

“Lauren Gunderson’s piece of luminous beauty silent sky is an intellectual epic told on an intimate scale. Conclusion: heavenly. —Atlanta Journal-Constitution.

Lauren Gunderson is the playwright of 21 plays produced. She holds an MFA from the Tisch School of the Arts and is a Berrilla Kerr Prize winner. His previous works include A brief history of almost everything; The Cafe Van Gogh; The Happy Elf; The Incredible Adventures of Dr. Wonderful and His Dog!; Me and you (made into a movie starring game of thrones’ Maisie Williams); and much more. silent sky had its South Coast Repertory premiere in 2011.

Barbara Schofield directs. At the Sierra Madre Playhouse, she has directed productions of Incident in Vichy (LA Times Critic’s Choice), Evidence, Arcadia and The Fantastics. She is director-in-residence and literary manager at the Open Fist Theater Company. She is a board member of Sierra Madre Playhouse. She was a faculty member of the American Musical and Dramatic Academy. Additionally, Barbara has directed or starred in productions in New York, Kansas City, London, and Berlin. Dr. Schofield earned her Ph.D. in Theater from Tufts University.

The cast for silent sky includes Ann Marie Wilding, April Elize, Candida Celaya, Aubrey Saverino and Jack Menzies. Liners: Madi Bready, Madelyne Herman, Gloria Tsai, Cristiana Barbatelli and Chris Granlund.

PLEASE NOTE: Covid-19 safety protocols in effect on performance dates will be adhered to. At the time of writing, spectators must be masked and vaccinated. The Vax card or digital recording will be verified.

silent sky” is the story of a real woman whose life and discoveries were extremely important for the exploration of the universe.

“Silent Sky” runs until October 9, 2022. Fridays and Saturdays at 8 p.m., Sundays at 2 p.m. Also, Saturday mornings at 2 p.m. on September 17, 24, October 1 and 8.

Sierra Madre Playhouse is located at 87 W. Sierra Madre Boulevard, Sierra Madre, CA 91024. Ample free parking is available on the streets and adjacent lots. Tickets are $45. Seniors (65+) $40. Youth (21 and under) $25. Teen tickets (ages 13-19) are available for $5 through the TeenTix Pass program. Go to their website to find out more. Reserve your tickets at (626) 355-4318.

MoMA Sells a Picasso to Help Fund Potential NFT Push Wed, 14 Sep 2022 14:30:00 +0000

NFTs Featured at 0X.17 Gallery in Lower Manhattan Include Bored Apes, CyrptoPunks and More

NFTs featured at the 0X.17 gallery in lower Manhattan include Bored Apes, CyrptoPunks, and other non-fungible token “art”. Everyone knows that the best illustrations come with a hashtag and number to let you know how many similar versions exist around the world.
Photo: Kyle Barr (Gizmodo)

The Museum of Modern Art’s mission statement is to “connect people around the world to the art of our time”. Unfortunately, it seems that the most important supplier in New York “thought-provoking art” has abstract reasons to consider grabbing a few digital artworks in the form of NFTs.

Pieces by Pablo Picasso, Pierre-Auguste Renoir, Francis Bacon (the painter, not the English philosopher), and Auguste Rodin were originally part of the collection of CBS founder William Paley before being loaned to the museum by the Paley Foundation after his death. in 1990. Works include Picasso’s Guitar on a table and Bacon’s Triptych Three studies for a portrait of Henrietta Morales which they hope will cost $20 million and $35 million respectively.

The the wall street journal announced for the first time on Tuesday evening the MoMA and the William S. Paley Foundation’s plan to put 29 of the 81 pieces in the collection up for auction at Sotheby’s auction house. Glenn Lowry, MoMA’s director, told the WSJ that they are considering expanding the museum’s online presence on its own website through digital procedures as well as offsite on social media.

The museum hopes to recoup $70 million to $100 million from the sale, and at least some of the funds could go toward buying MoMA’s first set of NFTs. Lowry told the WSJ they have teams monitoring the digital art scene to look for potential artists or purchases. The museum hadn’t been so keen on grabbing NFTs when the scene was at its height in mid to late 2021, with MoMA’s director telling the Journal that they’re aware they lend any art they collect an “imprimatur” or standard of quality, “but that doesn’t mean we should avoid the domain.”

We reached out to MoMA to ask what types of NFT art it might consider and a spokesperson told us that “the new endowment will be used to fund digital initiatives as well as new acquisitions in MoMA’s collection – the endowment is flexible and open-ended and no concrete plans have yet been made. This is an important question since the most popular, recognizable and lucrative non-fungible tokens are AI-produced derivative lines like Bored Apes or Cryptopunks. It’s hard to imagine a wall of these mass-produced, non-original pieces sharing walls with artists like those of Vincent van Gogh. The starry Night.

The MoMA could encounter other problems inherent in the NFT world. Token markets like OpenSea are struggling to manage copies of NFTs being put up for sale, which really hampers the whole “digital scarcity” advantage that is supposed to be inherent in the promise of non-fungible tokens. The online art gallery DeviantArt had to create AI tools to help detect copiers and stolen artwork. Owning NFTs could also put a target on MoMA for everything pirate seek to get their hands on the museum’s NFTs, which, by their nature in possession of the museum, would theoretically add to their value.

Lowry told the Journal that the museum has struggled to bring visitor numbers back to where they were before the pandemic. Last year they exceeded 1.65 million visits, while in previous years they averaged 3 million. At the same time, museum staff have seen their followers on sites like Instagram and Weibo grow from 30 million before covid to 35 million now.

The museum keeps some of the most famous paintings like that of Picasso Boy driving a horsebut it separates from Renoir’s 1905 Still life with strawberries as well as several statues of Rodin.

Paley was a MoMA board member from 1937 until his death in 1990, long before there was even a notion of blockchain technology. Bill Paley, the son of the CBS founder and vice president of the foundation, told the Journal that they would defer to the museum on how he wanted to spend most of the funds. A small portion of the proceeds from the auction will be used by the foundation for its other efforts. Sotheby’s plans to auction the items at various locations this fall, according to the Journal report.

‘Gustav Klimt: Gold in Motion’ exhibition dazzles in New York Mon, 12 Sep 2022 21:43:00 +0000

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NEW YORK, Sept 12 (Reuters) – Austrian Symbolist artist Gustav Klimt’s masterpieces come to life in an immersive exhibition in New York City, opening a new museum that merges technology, art and music.

‘Gustav Klimt: Gold in Motion’, which opens Wednesday, envelops visitors in 30-foot-tall images of his works in the Emigrant Industrial Savings Bank building in Manhattan, now the Hall of Lights of 33,000 square feet. .

A version of Klimt’s most famous work, “The Kiss,” painted in 1907-8 at the height of his golden period, seems to sink from the marble walls of the new museum onto the floor.

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“When you don’t put that on the canvas but on the wall, you can see it’s like a new world every time,” said Gianfranco Iannuzzi, the show’s year-long creative director.

“You are not in front of something like a cinema screen or in a museum like a painting, but you are inside and you have a different situation with your appearance, but also your hearing and your movements”, a- he added. “It’s all a special experience…sensitive and emotional.”

Iannuzzi, who created the “Van Gogh, Starry Night” show currently at the Atelier des Lumières in Paris, hopes such exhibitions will make traditional works of art more popular.

“It is very important to open up art and culture to a wide audience,” he said.

The new digital arts center in New York is jointly owned and operated by French museum manager Culturespaces and IMG, a global events, sports and talent management company.

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Reporting by Roselle Chen; Editing by Richard Chang

Our standards: The Thomson Reuters Trust Principles.